Welcome to A to Z Media
About our company
A modern immigrant’s tale, the company was founded in 1994 by British expat Sarah Robertson, who arrived in New York determined to succeed despite possessing little more than an L1 Visa, prodigious work ethic and a conviction partly derived from Hollywood’s dream factories, that her destiny for business and personal fulfillment might just be realized in America.
Working from a loft apartment situated directly opposite the World Trade Center, Sarah employed her winning charm, positive demeanor and extensive background managing the sales and customer service departments for several European CD plants, towards providing the overlooked sector of underground record labels and professional recording artists greater guidance in their manufacturing and packaging choices.
With a heady mix of sheer willpower, moxy and abject fear of failure, Sarah’s nascent company emerged as an impartial and invaluable resource for the independent music community as she began acquiring meaningful and influential clients, many of whom the company proudly works with nearly 30 years later.
Focus on Today
A to Z Media today is a growing and dynamic team comprised of passionate art, sales and production specialists who fervently believe that one size and solution does not fit all scenarios- certainly not when crafting an indelible physical product that is uniquely aligned with a singular artistic expression.
Our dedicated staff tirelessly advocates on our client’s behalf while ensuring their efforts are conducted with integrity and goodwill towards all; customers, fellow employees and suppliers alike.
The company has consistently increased both marketshare and revenue through increased sales, strategic partnerships, relevant acquisitions and new business development.
Our longstanding track record for supplying customers with total solutions for their manufacturing requirements has a newfound resonance given the challenges facing the music industry today. Our clients are seeking greater efficiencies, more intricate packaging choices, comparative pricing and quicker production turn times in the face of narrowing release windows. Given these realities, we believe we can step into most any room and provide immediate value.
We are only as good as our last job.
What does this mean?
This internal philosophy of paranoia reminds our entire staff that each and every project is critically important for many reasons and that we must never become complacent.
While there is certainly no shortage of suppliers that can press your record or cd or you name it, very few can press that record, print the box, poster, enamel pin, jar of custom blended mayonnaise, custom music box, t-shirt, challenge coin, field note guidebook and pencil in one single package of 1000 to 100,000 units while picking up the phone, quickly answering your emails, guiding you through the entire process of production and above all else always acting in your best interests and desires for delivering the project on time and within budget.
Why A to Z?
Maybe a friend of a friend told you the only company you need to call is A to Z.
Maybe it’s your first project and you have lots of questions related to pressing a vinyl record or making a cassette or printing a coffee table book.
Maybe your company is looking to find a new supplier who can provide accurate dates of when your projects will complete and deliver.
Maybe you are looking to make something you have not seen before and don’t know where to start.
We serve each and every one of these seemingly divergent requests by focusing exclusively on your unique requirements.
This is our definition of “Bespoke Manufacturing Services”.
A to Z Cares
The company’s management and employees have a longstanding tradition of providing charitable contributions for select non-profit projects that align with our shared sense of values.
A to Z Cares is our more deliberate and targeted effort to inspire meaningful, direct and ongoing positive impact within our immediate communities of business by encouraging staff and clients alike to work together in donating their time, ideas and labor for the greater good.
Our mission is to foster civic engagement by supporting and empowering the efforts of individuals and organizations bravely taking a stand against injustice, poverty and care for our Earth by offering a hand-up and not simply a handout.
Please contact [email protected] for more information and consideration.
Questions about our company or products?
Where should my files be sent?
Please upload all of your content to our Client Center. If that is not possible for whatever reason please send us a link to the files via services like Dropbox, We Transfer, etc.
If you would prefer to send physical copies of your master please speak with your sales or production contact to confirm correct address.
Can I come into your office?
Yes, please but call first so that we can prepare for our meeting. We actively encourage you to come into our New York, Milwaukee or Portland offices to discuss your project, review samples, and gather inspiration.
Can you ship to multiple locations?
Yes, we are happy to do so. Please reach out to your production manager to confirm specific shipping instructions.
What shipping methods are available? Can I pick up my order?
We work with a variety of carriers to ensure the best pricing and time-in-transit. Domestically, we ship via UPS, FedEx, or freight (for larger shipments on pallets). Internationally, we ship via UPS, DHL, TNT, Dachser, or direct air or sea freight.
Please discuss your shipping needs with us and we will work with you to determine the best options for your project.
What is an IPR/IRMA form?
The IPR/IRMA form is a standard anti-piracy document that must be supplied for all CD, DVD, and Vinyl content. It essentially confirms that you are the sole owner of all supplied content or that you have obtained all necessary licensing which allows the content to be replicated without violating any intellectual property rights.
Do I need a UPC/barcode (and how do I get one)?
Yes, you should have one for your product if you plan to sell your product through distributors or stores- online or brick and mortar. A to Z can provide a UPC Barcode free of charge.
Do you offer discounts for non-profit/philanthropic projects?
Please check out the A to Z Cares link in the About/Company section.
What forms do I need to fill out?
We require a completed IPR Form for all Optical and Analog Projects.
Vinyl projects also require a completed Track Sheet.
Both of these forms can be downloaded from the Templates section.
What is the Overage Indicated on your Sales Orders and Invoices?
All of our orders are subject to an over/under quantity tolerance that ranged between 5-10% of the entire order quantity. This is an industry standard that ensures that sufficient quantities are on hand to complete your minimum order and accounts for units that fail quality control.
We try to deliver as close as possible to the quantity you order, but individual components can finish up to 10% over or under this amount and are considered within acceptable order tolerance.
For example, if you order 250 records, you may end up with any quantity between 225 and 275.
Are you members of any organizations?
We are proud members of A2IM ( American Association of Independent Music) and WPO (Women’s President Organization)
I am unhappy with my goods – what do I do?
We stand behind our products and service 100%.
Please get in touch with your production and sales contact straight away to discuss the issue.
Please be prepared to send photos and share pertinent details as we work with you to resolve.
Please understand that custom printing and replication is an imperfect science subject to slight variances of colors and finishes.
Please refer to our Terms and Conditions for specific details.
My goods arrived damaged – what do I do?
If the damage is visible upon receipt, please sign for the product as DAMAGED. Regardless, get in touch with us right away and send photos of the damaged product, photos of the damaged boxes (if applicable), the total quantity of damaged goods, and any other relevant details. We require this information as soon as possible in order to enter a claim with the carrier.
What won’t you print?
Overt audio, video and graphic representations of misogny, sexual violence, homophobia, bigotry, anti-semitism, racism and all around hate are not welcomed.
Can you run one copy of my project before printing the whole job?
Yes, we can run a press sheet for your project but they are incredibly expensive. We can also arrange for you to go on press when your job is being printed. More feasible still, we will provide a set of color fiery proofs printed in-house, to size, to aide overall assessment of color, placement and general design.
Do you make custom items that I don’t see on the site?
100% yes. If a template does not exist, we will create a dummy sample for you to review and then issue templates. Likewise, please contact us with any crazy ideas and we will do a little brainstorming to provide best solution.
Are there more templates available to use?
Yes, we have literally thousands of different templates and configurations to choose from for all packaging options. We have chosen to include only the most commonly utilized styles but please contact us if there is something specifically you are looking for.
Can I apply a varnish to reverse board?
We do not recommend running a varnish on reverse board or uncoated stock as the varnish is entirely absorbed into the paper unless you first apply a clear foil. Doable but expensive.
Q: Can you do custom cut outs or die-cuts?
A: Most any shape or size you can think up can be applied to your print.
What is a spot varnish?
Spot Varnish provides a reflective contrast between two different varnishes in a defined area of your artwork. Most effective use is to apply a flood matte varnish a and spot UV gloss.
Computer screens don’t really do this process justice so again ask us for a print sample of this process.
What is reverse board?
When artwork is printed on the reverse (uncoated) side of the cardboard.
Final products will show some of the paper fiber and are more textural in look and feel. As there is no varnish to hold colors in place, Reverse Board items will be more muted. Please note that we cannot guarantee color matching when art is printing on reverse board. Furthermore please request to see samples of items printed on reverse board to ensure that you understand the effects.
Can I request a specific varnish on my package?
Yes, we offer a very large variety of varnish options that can help enhance your design and impact the final look and feel of your product.
Common Varnish Options for All Products
Aqueous coating: Commonly referred to as ‘AQ coating’. This is the most standard coating and has a semi-gloss to it. Most frequently.
Matte coating: Matte UV imbues a dull/flat look and touch. Has the least amount of shine and slightly darkens the print. Options include UV, Film Lamination and Anti-Scratch.
Gloss coating: Gloss UV imparts a super shiny “high gloss” look that is the most light reflective of the coatings. As such, you will see finger prints and oils once touched ( can wipe off)
What is the difference between silk screen and offset CD/DVD Disc Imprinting?
Silkscreening is most appropriate for up to 3 color printing – especially if the colors are PMS colors and for solid ink coverage. With silkscreening, ink is applied to a screen and forced through the holes in a stencil to create an image on the surface of the disc.
Offset printing provides higher quality image at 175 lines per inch (vs. 85-135 lines per inch for silkscreen). Offset printing applies 4 layers of ink (cyan, magenta, yellow, and black) on-disc.
Offset printing is ideal for full-color designs, skin tones, and crisp text. Offset also imparts a slight matte effect to the disc face.
How do I make the circle C & circle P signs?
The easiest way to insert a or in your artwork is by using the font: Bundesbahn P3i
It is available for free at: www.ufonts.com/fonts/bundesbahn-pi-3.html
Type a capital ‘C’ for and a capital ‘P’ for.
What does PPI mean?
PPI stands for Pixels Per Inch. Artwork created at 300ppi will contain 300 pixels per inch of color.
What ICC profiles should I use?
We do not require the inclusion of an ICC profile.
What resolution should my images be?
All images should be 300dpi at the size they are printing
Should I include Bleed?
Yes! Please do not stop art exactly at the indicated cut line on our templates. We recommend that all art extends past the cutline at least .25”
Should the actual images used in my design be provided with the final files?
Yes, always include all images used in a separate and well labeled folder.
You can choose to embed your images, but having a separate folder of all images will help speed along proofing.
Should I supply fonts?
Yes, always include all fonts used to design your project.
Adobe products allow you to package the fonts easily.
You can also outline all type BUT please note that the text will no longer be editable. To avoid potential mis-registration in printing please make sure your font sizes are not too small, especially if you are dropping out to white from a dark background.
When should I use a Pantone Color?
When trying to print a specific color that is hard to match within a CMYK build.
Pantones are also commonly used for metallics and for flood color applications.
What color mode should I use for my images?
CMYK and greyscale please. All RGB images will be converted.
Which do you prefer?
Multiple page booklets should be supplied in printer’s spreads. To ensure clarity of your page order, please include page numbers outside of the printable area of your artwork or provide numbered printouts of your pages.
What is reader spread?
Reader spreads show consecutive pages in two page spreads. They are in the correct order for someone to read the document.
What is printer spread?
Printer spreads is the process of setting up multiple page booklets in such a way that when folded and assembled will be in a consecutive page order.
What should I look for on the PDF proofs?
Check for artist, title, placement of images, spelling, dates, names, panel placement, UPC, no dropouts, text reflow issues, correct pagination
Can I make changes to artwork once files have been submitted?
Once artwork has cleared the preﬂight process, a complete set of PDF ﬁles will be prepared for you to review and approve.
Revisions can be made- via submission of new files or having our pre-press operators- prior to formal approval of proofs.
Please be mindful that we will provide assistance for the first set of changes required after the first proofs are issued but reserve the right to begin charging a fee of $75 per hour for subsequent changes. As such, it is really important to check your files before submitting and certainly to carefully scrutinize the initial set of proofs provided.
How should I prepare items such as a spot varnish/emboss/deboss/foil stamp?
Please set up these special printing elements as a separate layer in your files. If using Photoshop, do not ﬂatten this artwork into the CMYK background of your ﬁle.
For foil stamping, embossing, or a spot varnish in your design, please indicate this in the name ﬁeld of the separate layer these elements appear on. The elements should be vector or 1-color raster (bitmap, psd with transparent background) and set to “overprint” in the layout program.
A custom spot color swatch should be assigned to the element and the swatch should be named as the type of detail it represents (ie: “Deboss”, “Emboss”, “Silver Foil”, “Spot Matte Varnish”).
Any tips on using your templates?
If you have any questions while preparing art please contact us for assistance.
That said here are a few basic pointers:
Make sure the template is on a separate layer.
Make sure you don’t flatten the template within the art
Template guideline spot colors should only be used on the template and are for reference only. If these colors are part of your art they should be removed when the template is removed for print.
For example, as our cut line color is red, if you want to make the title text red, please create a new swatch for your text.
What’s wrong with a PDF only?
The PDF format limit’s our ability to fix and check your files.
The files are prone to several major issues that can impact your final product.
Fonts and images not properly embedding
Improper ﬂattening of transparencies which may result in boxes or lines forming around images and text.
Elements set to “overprint”, which may drop out when printed.
You can choose to continue with PDF submission, but we cannot be held responsible for any missing or incorrect elements once proofs are approved due to the inconsistent nature of the file format.
Can I submit PDF’s?
We do accept PDF ﬁles but would greatly prefer the native layout ﬁles as well.
What programs and file types do you accept?
QuarkXPress (version 10) .QXD, .QXP
Adobe Creative Cloud (InDesign, Photoshop, Illustrator) .INDD, .AI, .PSD, .PDF, .EPS, .TIF and JPEG
If supplying your ﬁnal artwork as Adobe Photoshop ﬁles, please save as layered .PSDs
What is involved in the preflight process?
A to Z Preflight Operators WILL check your Art files to ensure:
- Images are 300dpi and above
- Bitmap images are at least 1200dpi
- Color mode is CMYK or greyscale
- The ink coverage limits are correct
- Bleed is included
- Page size is correct or spec size is correct
- Barcode scans *but not readability pertaining to your project*
- All fonts are embedded
- Text is over minimum size
What WON’T be checked?
- Spelling, grammar or any written or image content
- Design aspects of the artwork
- Text legibility
- Images printing poorly due to the quality of images being used
- The page order of artwork
- Image alignment across pages
- Font substitutions or text reflow issues
Why does my type look mis-registered and fuzzy?
Please make sure your font sizes not too small, especially if you are dropping out to white from a dark background. We recommend never using a font size smaller than 5pt.
Why can’t I print a 10 or 22 page stapled/stitched booklet?
All booklets have to be printed in groups of 4 panels. You can print a 10 panel folder though.
Will my finished printed product look different than the document on screen?
Yes, your screen is backlit and is made up of RGB colors. Printing colors are made up of CMYK or PMS inks. This fact along with different board stocks and varnish account for the overall color differences and variances between screen and real products.
Why won’t my files upload to your site successfully?
A common cause of files not transferring correctly are the presence of special characters in the filename.
Filenames should consist only of letters, numbers, underscores, and hyphens.
Other characters (examples: @$#/&? etc) may halt the uploading process.
How specifically should my engineer prepare my master for vinyl manufacturing?
Supplying audio at the highest original sampling rate and bit depth is something that should be at the top of the list to consider when creating a vinyl master. We can cut from audio files at resolution of up to a192 KHz sampling rate and 32 Bit depth.
Up-sampling does not help the quality, but rather sending files at the highest rate they were recorded at during tracking and mixing will benefit the project.
You can send us audio files peaking near 0 dBFS, but leave at least 0.1-0.5dB headroom for D/A conversion.
With that in mind it is actually best to not use hard-limiters (brickwall, peak limiters) to a great extent.
We have to reduce the cutting levels if there are a lot of heavily limited sections in the supplied audio.
A good and safe dynamic range is around DR12 but if mixed and (pre-)mastered well, it can be up to DR8 for some genres.
The project should be in phase, out of phase audio can cause skips during playback.
Bass below 300 HZ and Treble over 18KHz tend to be areas that need addressed. It is typical to use an elliptical EQ on low range bass during cutting generally up to 150Hz and low pass filters on treble over 18KHz.
Sibilants are also problematic, so de-essing is recommend especially on tracks near the inside of the record which are at risk for inner ring distortion ( the grooves toward the inside of the record distort more easily than the ones near the outside).
When building the track list louder tracks normally fair best at the start of a side and quieter tracks toward the inside of the record near the label.
What’s the best format to submit audio? Can I send a CD master for vinyl manufacturing?
Vinyl can be cut at a higher digital sampling rates than finished cd’s can provide. If the project was originally recorded at, for example, a 96K sampling rate with 24 Bit depth, the cutting engineer can use those higher resolution digital files to cut the vinyl master. If you’re planning on making a record, it’s worth mentioning to your mastering engineer and getting his or her take on the best way to prepare masters. Please have your engineer get in touch if there are any questions.
High resolution uncompressed audio files such as .WAV or .AIFF files are recommended.
We can use CD digital masters to cut records without any issues in most cases, although heavy limiting can affect the ability to produce a loud vinyl master.
It’s generally a good idea to create a separate master explicitly for vinyl as the hard final limiting that CD and digital masters go through is not ideal for vinyl mastering and can affect how the project is cut.
It is normal for the vinyl version to have less hard limiting and perhaps a slightly different EQ curve. Please discuss with your mastering engineer our give us a call to discuss in greater detail.
How many minutes are recommended per side for 12″, 10″, and 7″ records?
These are general guidelines as the length of music for each side is impacted by numerous variables including the content and dynamic range of the recorded music.
Please feel free to reach out and discuss the running times of your project and we will gladly provide audio counsel to ensure that your record is pressed at the right speed and sounds as good as it can.
Recommended Running Times
12” LP @ 33 1/3 RPM – 14-18 minutes per side is ideal and will provide a great sounding cut.
At 20 minutes and longer overall levels start to drop, surface noise will become more noticeable and bass may need to be trimmed. Sides over 24 minutes are possible but greatly compromise the final product.
12” LP @ 45 RPM – 12 minutes per side is optimal. For sides over 15 minutes, changing to 33 1/3 RPM might make sense.
10” @ 33 1/3 RPM – 12 – 13:30 Minutes per Side
10” @ 45 RPM – 9 – 10 Minutes per Side
7” @ 45 RPM – 3:30 is the optimal. Leading up to and after 4:30 level starts to drop a bit. Max recommend time is 5 minutes. Most cutting engineers recommend cutting a lower level at 45 RPM on 7 inch as opposed to doing a 7 inch at 33 1/3.
7” @ 33 1/3 RPM- Cutting at 33 1/3 on 7 inches is typically not recommend because of added distortion and some of the lowest cutting levels around – but it can be done up to 7 minutes per side. Records will not sound good.
What is the minimum order size for Pressing Vinyl?
250 units is the minimum run size for finished vinyl for all formats, sizes and colors.
What’s the best and worst sounding color of vinyl?
Black vinyl is the safest bet for audio quality. In theory, colored records should sound just as good but there are a number of adverse issues that do alter their sound. White records, Picture Discs and Glow In the Dark are all known to have a good deal more surface noise.
Do I need a Test Press?
Yes! You can waive this right but we do not advise doing so.
A Test Pressing of your project is an essential and time honored tradition of the vinyl pressing experience.
What should I be checking for on my Tests?
Please listen to all of the units sent – typically 4 copies- on multiple turntables to ensure that playback is consistent and that any potential discrepancies are not player or needle related.
Listen to all of your records carefully to verify that the side breaks and tracks are in the correct running order, the rotation speed is correct, the song breaks are accurate and the visual track markers are properly placed.
If you had a custom etching done in the run out groove that should also be inspected.
We cannot stress this enough, but please try and listen to your tests on a properly calibrated and maintained turntable as the record will only sound as true and “good” as the stereo being utilized.
If you do hear any persistent audio issues or skipping there are some interim measures to investigate prior to you rejecting your tests.
Identifying the exact location and consistency of a possible issue on all the tests helps more readily resolve the problem.
If you have specific questions about your test presses please contact your production manager to discuss the issue further.
Do you offer a Digital Download Card Service?
Yes, our program is called Soundcards and we typically provide the entire setup and hosting of a digital download in conjunction with pressing a vinyl project. We can print the cards on different substrates and provide real time usage reports while allowing you to edit parameters such as length of campaign, landing url and artwork imagery.
What is Direct to Metal Mastering (DMM)?
The primary alternative method to create vinyl masters is called DMM, which stands for Direct Metal Mastering.
The DMM process is very similar to cutting a lacquer. There is still a lathe and still a master disc that the grooves get etched into. Instead of a lacquer master disc, a copper metal master disc is used.
Once a DMM master is created the stampers can be made straight from the metal master disc that has been cut.
Processing stampers directly from the metal master allows you to skip a step that is otherwise required when stampers are created from lacquer masters.
What’s a Lacquer?
In order to press a vinyl record, you need to create a physical etching on electroplated stampers that will press each of your records.
There are two methods of creating these stampers- Lacquers and DMM.
A to Z works with both mastering technologies.
Below is a brief summary on the primary differences between the two equally viable solutions.
Lacquers are created by coating a silver metal disc with plastic AKA lacquer ( similar to nail polish.) The audio from your master is physically etched into the lacquer master disc by a vinyl cutting lathe. A lathe operates like a glorified reverse record player (only way more expensive and precise) to transcribe the audio information onto the lacquer.
While the needle of a record player reads the grooves of a finished record, a lathe physically etches the audio in the soft lacquer creating a master disc that looks very similar to the grooves on a finished record.
This is the stage when the program level (or loudness,) side lengths and speed come into play. Once the Lacquer is created, Stampers are then manufactured from this lacquer master.
Stampers are electroplated metallic plates that are attached to a vinyl press to mold the grooves of a finished record. A to Z will coordinate both lacquer and stamper production or you can arrange for this step on your own.
Is DMM better or worse than Lacquers?
Each has their own merits and the decision is ultimately subjective and personal. We can and do work with both processes each day.
That said, DMM has a lot going for it. It is more streamlined and typically less expensive. As such it is a good choice for smaller runs as we simply need WAV Files to begin the process.
DMM does affect the sound of a finished record. DMM is more responsive to the treble due to the grooves being etched into metal rather than a soft lacquer disc. There is also a different bass response with DMM. A metal master disc also has a more solid “groove wall” which can cut down on groove echo (neighboring grooves being affected by each other in an undesirable way) and can also improve the depth of the stereo field. In addition, DMM creates less chance for extra surface noise to be added during the plating process due to one less plating step and is ideal for longer sides.
Is there any kind of Vinyl Record you can’t Press?
Not really – we offer 7”/10”/12” inch format in black, colored, effects, shaped, picture disc, glow in the dark, silkscreened, etched.
What’s the difference between standard weight and 180 Gram vinyl?
The actual weight of a record is constantly in flux and will slightly differ on each and every record that is pressed.
The fluctuations depend on the vinyl material and other variables in the pressing process and are adjusted in order to obtain optimal sound quality. 180 gram and the standard gram weight (approximately 140-150 Grams) are benchmarks.
Do 180 Gram Records Sound Better?
The simple answer is no.
There is no difference between the grooves pressed onto a 180 gram record and a standard gram record, so it’s the same exact groove being played back on your turntable. There is a school of thought that believes the heavier weight helps absorb vibrations from the turntable and keep that noise from passing through the needle, but other than this minute detail there should be no discernible sonic difference between a 180 gram and a standard weight piece of vinyl.
So why would I want to press on 180 Gram?
In practical terms it is harder to warp a 180 gram record – not only coming off press, but in shipping and storage as well.
It has a durable and lovely solid feel that is aesthetically prized by collectors and marketers alike. It just won’t sound any better if at all.
What Vinyl Won’t You Run?
Overt audio, video and graphic representations of misogyny, sexual violence, homophobia, bigotry, anti-semitism, racism and all around hate are not welcomed and will be rejected.
Which formats do you accept for CD masters?
Please send a DDP or a burned physical CD master- PMCD. The engineer who mastered your audio is typically able to supply either format. Otherwise, we can accept WAVs or AIFFs and will convert to DDP for a nominal fee.
Which formats do you accept for Cassette masters?
Please send high resolution WAVs or AIFFs. Audio may be sent as individual tracks or as one sequenced WAV per side.
Which formats do you accept for DVD or Blu Ray masters?
Please send a DDP or playable physical master for DVD replication.
Please send a BDCMF for Blu Ray replication.
What is the minimum run size for CD, DVD and Blu-Ray?
500 units for glass mastered and molded discs with silkscreen or offset imprinting. If you are looking for smaller quantities please check out our sister company, mixonic.com for a complete range of on demand short run printing and duplication of optical products.
What is the minimum run size for Cassette?
How long will my Cassette order take?
Please allow upwards of 30 business days for complete duplication, imprinting, packaging and assembly
How long will my CD/DVD/Blu-Ray order take?
Please contact us directly to discuss your specific turn time requirements as we will be fully honest and let you know if we forsee any issues making your dates.
CD, DVD and Blu-Ray Replication inclusive of standing printing, packaging and assembly takes 12-15 business days from approval of proofs and receipt of all required audio, forms, deposit and shipping information.
How do I know my master will be replicated correctly?
Numerous safeguards are in place to ensure that your content is properly processed. For extra assurance, you can request a DDP check disc for CDs or a test tape for cassettes prior to full scale replication. We do always recommend check discs for DVD/Blu Ray.
Will you remaster my audio prior to replicating?
No. Whatever you supply to us is exactly what you will receive in return, so please ensure it has been mastered to your liking.
What is CD text? Why don’t my track names appear in iTunes?
CD text is embedded in your CD during mastering. The text will show up on most CD players, though some very old players aren’t equipped to handle this function. Didn’t add the text during mastering? Not to worry–you can add your text for free using Gracenote (which can be done easily via iTunes), so anytime your disc is in a player connected to the internet that text will automatically pop up.